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S I ft I I I E I Y 



VOLUME 8 

NUMBER 2 

MAY 

2000 



Early Disney Pop-up and Novelty Books 

Theo Geilen 
The Netherlands 

While writing a letter to answer a question by 
Mrs. Bettyrae Eisenstein in the August 1999 issue 
of the Movable Stationery, we thought this 
information might be interesting for a broader 
readership. So we decided to write this article about 
the early Disney pop-ups and novelty books as 
published initially by Blue Ribbon Books, Inc., in 
the 1930s and almost simultaneously in several 
different European countries. 

Blue Ribbon Books published six of these 
Disney titles, four in 1933 and two in 1934. Why 
they stopped publishing Disney is unclear. The 
paper engineering for all the titles was probably 
done by Harold Lentz, though he is not credited in 
the books. It is remarkable that all the pop-ups are 
illustrated front and back. 

We will give here the editions of the Blue 
Ribbon books, both in English and other languages, 
as well as a description of some European titles for 
which we haven't traced an American original 
edition. Maybe some of the readers will recognize 
them and can give additional information. Whether 
there was a connection between Blue Ribbon and 
the foreign editions or not, is not clear; apparently 
the Disney Company itself marketed books abroad, 
as is suggested by the copyright statements found in 
several of the European editions. The foreign 
editions normally copied the American books 
exactly, but we have heard also about English and 
French editions that have their pop-ups illustrated 
on the fronts only. Besides, some of the French 
editions are slightly larger and give, therefore, a bit 
more of the borders of the original Disney pictures. 

We wouldn't be surprised if there also have 
been editions for the Scandinavian, the eastern 
European and/or the Asian market, but we have not 
yet come across any of them. 

The first two Disney titles were announced by 
Blue Ribbon Books in May 1933, but were 
published in August of that year in 50,000 copies, 
to be sold for 75cents (US). 



The Pop-up Mickey Mouse. Story 

and illustrations by the staff 

of Walt Disney Studios. 

New York, Blue Ribbon Books, Inc., 

[1933]. 28 p., 22x17 cm. 

The book was copyrighted in 1933 by Walt 
Disney Enterprises and has three pop-ups, one in 
the center of the book and one on the front and 
back endpapers. A reprint of the book appeared in 
1993 from Applewood Books, Bedford, Mass. It is 
unclear if the original edition had a dust wrapper. 



Fopomio 




Apparently Spain 
was the first country 
to publish a 
translation, for a 
year after the 
American first 
edition came: El 
raton Mickey en el 
circo. Barcelona, 
Editorial El Molino, 
[1934]. The cover of 
the book has 
"Ilustracion 
sorpresa" to announce the pop-ups in the book. 



Italy followed the next year with Topolino nel 
Circo. Illustrazioni Sorpresa. Milano, Edizioni 
Walt Disney - Mondadori, [1935], the translation 
done by Mary Costa. 

Most probably in 1936 there was the German 
translation, by Hans Schenk from Zurich and 
published in Switzerland: Micky Maus im Zirkus. 
Erzdhlt und illustriert von Walt Disney. Zurich, 
Micky-Maus-Verlag Bollmann, [ca.1936]. The 
frontcover gives as a kind of series title: "Wunder- 
Biicher" (Wonder-Books), and the copyright "By 
Walt Disney Mickey Mouse S.A., Paris." Finally 
there was a Dutch edition as Micky Muis in het 
Circus. Door Walt Disney, met illustraties van den 
Schrijver. Amsterdam, Uitgeverij "D.M.B.", 
[1938]. The front cover has as a series title: "Serie 
'Pieco' boeken," the translation done by Mrs. 
J.Rienstra-Went and the copyright by Walt Disney 
Enterprises. The "D.M.B." stands for "De Moderne 
Boekhandel." 



The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. The 
annual membership fee for The Society is $20.00. For 
more information contact Ann Montanaro, The 
Movable Book Society, P.O. Box 11654, New 
Brunswick, New Jersey 08906. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 

e-mail: montanar@rci.rutgers.edu 

Fax: 732-445-5888 

The deadline for the next issue is August 15. 



As a companion part was published at the very 
same time and with a same price and amount of 
copies: 

The Pop-up Minnie Mouse. Story 
and illustrations by the staff of 
Walt Disney Studios. New York, 
Blue Ribbon Books, Inc., [1933]. 
26 p., 22x17 cm. 

Again there are three pop-ups, in the center and on 
the endpapers of the book. This book was also 
reprinted in 1993 by Applewood. Did the original 
edition have a dust wrapper? 



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In the same year a 
Spanish edition was 
published: Minnie y el 
Palo Moby. 
Illustracion sorpresa. 
Barcelona, Editorial EI 
Molino, [1934], and 
the next year the Italian 
translation by Mary 
Costa: Topolina e 
I 'Anatroccolo. 
Illustrazioni Sorpresa. 
Milano, Edizioni Walt 
Disney -• Mondadori, 
[1935]. 



The German edition was translated again by Hans 
Schenk from Zurich and published as: Minni Maus 
und das Entlein. Erzdhlt und illustriert von Walt 
Disney. Zurich, Micky-Maus-Verlag Bollmann, 
[ca. 1936]. Wunder-Biicher. Again the "Copyright by 
Walt Disney Mickey Mouse S.A., Paris." 

Once more the Dutch edition closes the row: 
Miepsie Muis en het Eendje. Door Walt Disney, met 
illustraties van den schrijver. Amsterdam, Uitgeverij 
"D.M.B.", [1938]. Serie "Pieco" boeken. The 
translation again by Mrs. J.Rienstra-Went, and the 
copyright given by "Walt Disney Enterprises." 

About the same time, August 1933, Blue Ribbon 
Books published two larger and thicker books, both 
with four pop-ups and both sold for $1.75 each: 



MICKEY 



In France both 
books got their first 
European edition but 
compiled in one 
volume as: Mickey 
Hop-la ! Illustrations 
d'apres Walt Disney. 
Paris, Hachette, 
[1934]. Les Albums 
Hop-Id! 64 p., 24x19 
cm. Here we see the 
slightly larger 
measurements which 
show the borders of the original Disney pictures not 
seen in the other editions. This edition has four pop- 
ups, the three from Minnie and one from Mickey (the 
one from the centerpages). The cover has the 
illustration of The Pop-up Mickey Mouse. The book 
has the "Copyright 1934 by Walt Disney Mickey 
Mouse S.A., Paris" and was published with a 
dusrwrapper showing the same illustration as the 
cover. 




Mickey Mouse in King Arthur 's 
Court: Stories and illustrations by 
the staff of the Walt Disney Studios. 
New York, Blue Ribbon Books, Inc., 
[1933]. 48 p., 25x19 cm. 
The cover-title reads: Mickey Mouse in 
King Arthur 's Court with "Pop-up " 
illustrations. 

Originally published with a dust wrapper and 
copyrighted in 1933 by Walt Disney Enterprises. 

Apparently the Italian edition was the first one 
published in Europe: Topolino alia corte di Re Artu. 
Milano, Edizioni Walt Disney - Mondadori, [1933], 
in a translation by Mary Costa. 

Also in the same year as the original American 
edition, a British one was published as Mickey Mouse 
in King Arthur's Court. Produced with the 
permission of Mr. Walter E. Disney. London, Dean & 
Son Ltd., [1933]. Here the cover-title reads: Mickey 
Mouse in King Arthur's Court with "Scenic" 
illustrations. 



The fact that Dean & Son used the term "Scenic" 
instead of the original "Pop-up," gives a clear 
suggestion that it was the Disney Company that was 
responsible for the foreign editions. Blue Ribbon 
Books, we know, had registered the term "Pop-up" as 
a trademark and the given "permission of Mr. Walter 
E. Disney" apparently didn't include the use of "Pop- 
up." This Dean edition is said to have pop-ups just 
illustrated in the front, but by the lack of a copy in our 
collection we are not able to confirm this. 

The next year came the Spanish edition: El raton 
Mickey en la Corte del Rey Arturo. Ilustracion 
Sorpresa. Barcelona, Editorial El Molino, [1934]. 
This at least has the pop-ups, illustrated on both sides. 

The German language edition was published as: 
Micky Maus am Hofe Konig Arthurs. Erzdhlt und 
illustrated von Walt Disney. Zurich, Micky-Maus- 
Verlag Bollmann, [ca.1935]. The book was printed by 
Jacques Bollmann in Zurich and came with a dust 
wrapper. And: 

The "Pop-up " Silly Symphonies, 
containing Babes in the woods and 
King Neptune; stories and illustrations 
by the staff of Walt Disney Studios. New 
York, Blue Ribbon Books, Inc., [1933]. 
48 p., 25x19 cm.. 

The cover-title reads: Mickey Mouse presents 
his Silly Symphonies. Babes in the Woods. 
King Neptune with "Pop-up " illustrations. 

The book was published with a dust wrapper and 
copyrighted in 1933 by Walt Disney Enterprises. The 
design of this book is said to be done by Albert Hurter, 
the man who was responsible for Disneys first 
successes with The Three Little Pigs. 



The Spanish version of this book came a year later 
as: Los Enanos del Bosque y El Rey Neptuno. 
Ilustracion Sorpresa. Barcelona, Editorial El Molino. 
[1934]. And probably another year passed before a 
German language version was published, again in 
Switzerland: Die Waldmdnnlein und Konig Neptun. 
Erzdhlt und illustriert von Walt Disney. Zurich, Walt- 
Disney- Verlag Bollmann, [ca.1935]. 

The next year, 1934, Blue Ribbon Books 
published another two interesting Disney-titles: 

Mickey Mouse in "Ye Olden Days " with 
"Pop-up " Pictures. New York, Blue 
Ribbon Books, Inc., [1934]. The Midget 
Pop-Up Book. 60 p., 13x10 cm. 

Almost a mini edition it has on its front cover the 
same illustration as King Arthur's Court, and tells the 
story of Camelot, also known from that book. There 
is just one pop-up, in the center of the book. In the 
series of five "Midget Pop-up Books" this was the 
only Disney title. We are aware of only one European 
edition of the Mickey Mouse waddle Book and that is 
in German: Das Lebende Buch Der Micky Maus, 
Micky-Maus- Verlag Bollman, Zurich [1935-1936]. 
And: 

Mickey Mouse Waddle Book. The Story 
Book with Characters that Come Out 
and Walk. Illustrations by the Disney 
Studios. New York, Blue Ribbon Books, 
Inc., [1934]. 

This book, in which die-cut figures can be assembled 
and actually move without contrivances, was 
designed by Fred Voges. Again a reprint was done, in 
1 992, by Applewood Books. 



Once more the Italian edition came first, translated 
by Mary Costa as: / Nani del Bosco e Re Nettuno. 
Milano, Edizioni Walt Disney- Mondadori, [1933]. 
But the British edition came in the same year: Silly 
Symphonies. Babes in the Woods. King Neptune. 
Produced with the permission of Mr. Walter E. 

Disney. London, 
Dean & Sons Ltd., 
[1933]. Again, the 
cover title is slightly 
different: Mickey 
Mouse presents his 
Silly Symphonies. 
Babes in the Woods. 
King Neptune with 
"Scenic 
illustrations. Probably 
for the reasons 
mentioned above. 




I*fgg3 A I 



The only foreign language edition of this book we 
know of, is the Spanish one: Mickey en las Carreras. 
Barcelona, Editorial El Molino, [1935]. 



That answers Mrs. 
Eisen stein's 
question, but we 
still know some 
other early 
European Disney 
pop-ups and 
novelty books 
from which we 
could not trace 
any American 
original. Disney 
proves to be very 
successful 

Continued on page 10 




Pop-up Arachnophobia! 



Charles Duke 
Christchurch 
New Zealand 



Introduction 



Ok, so the title on this item doesn't make much 
sense but 1 am sure you can guess the theme of the 
article! While weaving through my movable book 
collection I was struck (or should that be bitten?) by 
the number of pop-ups that have spiders as either a 
primary or significant element of focus. 

Do I need to define spider? 1 don't mean a 
computer program that searches the web for 
information. Nor do I mean the outdoor bowls 
'closest to the gutter' competition. I am referring to 
part of the 'arachnid' family: small, eight-legged 
creatures that are best known for spinning silk webs. 

Some hard information! 

Spiders have 4 pairs of legs and divisions to the 
body [Cephalothorax, abdomen] joined by a narrow 
waist. Spiders are the largest and most successful 
arachnids, with about 30,000 different species. All 
spiders are carnivores and have powerful fangs that 
release deadly poison into their prey. A female spider 
can lay thousands of eggs, but they face so many 
dangers very few young make it to adulthood. Some 
spiders catch food by spinning webs of silk made 
from protein. Most of the webs you see are round or 
orb webs spun by garden spiders. Got the picture? 




Did you know? 



Longevity - a spider's life span can range up to 
30 years. 

Web Strength - spiders silk is as strong as steel 
or nylon thread of the same thickness but is 
lighter and more elastic. 

Silk Quantity - the black orb weaver (Argiope 
trifasciata) uses enough silk in its web to wrap 
40 times around a 12 inch (30cm) pop-up 
book. 

World's Largest Spider - is the giant bird- 
eating spider (Theraphosa leblondi) of 
Guyana, Surinam, and French Guiana. In 
1965, a male specimen was collected that had 
a leg span of 1 1 .02 inches (30cm)! 



• Worlds Heaviest Spider - the family 
Theraphosadae also holds the record for the 
heaviest spider. A female specimen collected 
in Surinam weighed a whopping 4.3 ounces 
(122gm). She also had 1-inch (2.3cm) fangs. 

• Worlds Smallest Spider - is the Samoan moss 
spider (Patu marplesi). They are only 0.0017 
inches (0.0045cm) overall. They are about % 
the size of the period at the end of this 
sentence. (See it?) 

• Worlds Most Venomous Spider - the Brazilian 
wandering spiders are the most venomous 
spiders in the world and they are particularly 
aggressive. They frequently take up residence 
in peoples cloths or shoes and bite ferociously 
several times when they are disturbed. Luckily 
there is an antivenin to their potent neurotoxin. 

But I digress! 




Enough hard data, what about the books! 

Spiders! Love 'em or hate 'em they are all 
pervasive and a favourite 'target' for paper engineers, 
illustrators and authors alike. A quick look through 
my computerised pop-up catalogue showed that at 
least 15 books had spiders mentioned and depicted. 
Time to take a look at how, why and what. 

Definitive works 

The first two books I will mention are both single 
spread factual exposes on spiders. Both make great 
use of color and paper engineering to deliver very 
accurate 3D renditions of a spider. 'The Spider' 1 , 
engineered by James Roger Diaz, is a large, 9 inches 
by 1214 inches (23cm by 31.5cm), portfolio style 
book. On opening, a beautifully crafted and coloured 



1 ISBN 1-556-70254-X, authored by Luise Woelflein. published 
1992 by Stewart. Tabori & Chang Inc. 




Mexican red-kneed tarantula stands up from the 
desert floor. Numerous details about the spider, its 
habitat and life style are detailed and 3 small side bar 
pop-ups accompany the text. The primary pop-up is 
complex and large, measuring 1 1" by 8" and standing 
4" high. 'The Spider" is one in a series which 
includes "The Bee 1 (1-556-70218-3), "The Beetle' (0- 
155-67025-5) and 'The Butterfly 1 (1-556-70219-1). 

The second and somewhat similar, albeit 
considerably smaller (5Vi" by 5V" or 13.5cm by 
13.5cm), book is 'Spider' 2 . Engineered by David 
Hawcock this book is unusual in that the covers fold 
back-to-back and can be secured so that the resulting 
Brazillian jumping 
spider can be 
suspended, like a 
mobile, on the 
supplied elastic 

cord. This means 
that the spider rises 
from the page lying 
on its back, which is 
unique as far as 1 am aware. 5 fold out pages deliver 
16 panels of information about spiders in general. 
'Spider' is also part of a series called 'Bouncing 
Bugs', which includes 'Ant' (0-679-85469-X), 'Bee' 
(0-679-85470-3), 'Beetle' (0-679-87566-2), 'Fly' (0- 
679-87567-0), and 'Wasp' (0-679-87565-4). 

Enter my web 

Moving from the spider itself to its habitat, 

capabilities and life style, one can do no better than 

'Creatures of the Desert World' . Part of the National 

Geographic Action series (is this series still being 

___ produced?) and 

engineered by John 

Strejan and James 

Roger Diaz, this book 

shows details of a large 

spider in situ in the 

Sonoran Desert, along 

with other insects and 

animals. 

'Natures Deadly 
Creatures' 4 , engineered 
by Electric Paper, is another excellent example of an 
informative yet visually exciting pop-up. Excellent 
paper work, use of color and information about 




spiders and other creatures allow one to learn with 
pleasure! 

'Natures Hidden World" 5 , whose engineering is 
unattributed, is a tad more whimsical look at the life 
of spiders. Muted colors and lighter text detail make 
for an enchanting book. A 2 page pop-spread and the 
use of a pull-tab and elastic animates a spider 
capturing a honeybee, for desert, no doubt 

As part of the 'Dear to Find Out About ...' series, 
Gruesome Land Creatures' 6 (paper engineered by 
Ruth Mawdsley) continues the 'informative while 
fun' trend. An 8" (20cm) Arachnid (in this case 
another Tarantula) pushes its feelers towards you as 
you open the first double page spread of the book. 

Human connection 

Heading off at a tangent, I get a real kick out of 
'The Pop-Up Book of Phobias' . Engineered by 
Mathew Reinhart, this entertaining book looks at 
human phobias including the fear of spiders. A giant 
spider lunges at the reader from the book pages. 
Great innovative paper work and lively text ensures 
considerable fun. This book is a must have! 

Not too serious 

On the lighter side, 'Spider! Spider In The Bath 8 ' 
and 'Spider: Panda Comes To Stay 9 ', both engineered 
by Ron van der Meer, are delightful children's books. 
Entertaining text and a good story line makes them a 
favourite with the younger set. Jan Pienkowski, in 
'I'm Not Scared' 10 | 
gives his, now to 
be expected, twist 
and humours view 
of our irrational 
fear of spiders, 
while Nick 

Bantock and Denis 
K Meyer depict a 
spider on the 
tongue of the little 
old lady in 'There Was An Old Lady'" 




2 ISBN 0-679-85471-1, authored by Lee Montgomery, published 
1994 by Random House. 

3 ISBN 0-870-44877-8, authored by Jennifer C Urquhart, published 
1989 by National Geographic 

4 ISBN 0-803-71342-8, authored by Francis Jones, published 1992 
by Dial. 



5 ISBN 0-399-20973-5, authored by Ingrid Selberg, published 1983 
by David Booth Publishing. 

6 ISBN 0-8249-8612-2. authored by Ken Hoy, published 1993 by 
Ideals Publishing Corp 

1 ISBN 0-688-17195-8, authored by Gary Greenburg, published 
1999 by Rob Weisbach Book. 

8 ISBN 0-563-36226-X. authored by Ralph Hibbert published 
1991 by BBC Books. 

9 ISBN 0-563-36241-3, authored by Ralph Hibbert, published 1991 
by BBC Books. 

10 ISBN 0^134-80077-5. authored by Jan Pienkowski, published 
1997 by Heinemann 

" ISBN 0-670-83194-8 published 1990 by Viking Penguin. 




From the sublime to 
the ridiculous lets take 
a quick look at 'The 
Pop-up Buck Rogers' 12 , 
engineered by Arroyo 
Project. This book uses 
the imagery of a spider 
to hang an improbable 
sci-fi story on. Simple 
engineering, however 
but the use of bright 
colors and comic-like 
layout, entice all ages to 
take a peek. 

Caught 

Spiders, those creatures we love to hate, have 
provided a wealth of ideas and elicited very different 
treatments in the pop-up world. Many of the worlds 
best engineers have taken on the challenge of the 
spider and we are all the richer for it. May we see 
more 3D renditions in the future! 

So there we are! Not a full list, but a wee taste of 
what is available. 

Hey, did you know that there is a word for 'a fear 
of pop-up books'? This is something my wife, 
Denise, suffers from! Biblokinetophobia! 



12 ISBN 1-555-09236-2. authored by Phil Nowlan, published 1994 
by Applewood Books. 

New Pop-up Bibliography 

Ann Montanaro's new book Pop-up and Movable 
Books: A Bibliography, Supplement 1, 1991 - 1997 
has just been published by Scarecrow Press. It updates 
and adds to her earlier work Pop-up and Movable 
Books: A Bibliography published in 1993. This 
supplement is 960 pages and includes the pop-up 
books published betwel991 and 1997 as well as the 
books published from 1779 to 1990 that were not 
identified for the first volume. Complete bibliographic 
information is provided for over 2,300 new titles. The 
name, date, and series indexes are cumulative and 
include the titles from the 1993 edition interfiled with 
titles from the current edition. 

Both volumes are available from Scarecrow Press, 
P.O. Box 191, Blue Ridge Summit, Pennsylvania 
17214. The price of the first volume is $63.00 and the 
second is $95.00. There is an additional charge for 
shipping. 



Waldo Hunt Honored 

Waldo Hunt has not missed a single Children's 
Book Fair since 1 976. And so, to resounding applause 
and expressions of delight from publishers who had 
gathered in Bologna from around the world for the 
Children's Book Fair, he was presented with a special 
award. Waldo Hunt, doyen of American publishers, 
was presented with a reproduction of a scarab beetle 
housed in the Egyptian Collection of the Archaeology 
Museum in Bologna. 

In the presentation it was noted that by his constant 
and significant presence at the Bologna show he has 
done an enormous amount to raise awareness of the 
Children's Book Fair in the United States, and in the 
process he has also become an ambassador for the city 
of Bologna. 

Waldo Hunt is C.E.O of Intervisual Books of Santa 
Monica, California, producer of approximately 1,000 
interactive and pop-up titles for leading American and 
international children's 
publishers. 



Pop Goes the Page: 

Movable and Mechanical Books 

From the Brenda Forman Collection 



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An Exhibition at the 

University of Virginia 

Alderman Library 

May 12 through August 18, 2000 

Also online at: 

http://www.lib.virginia.edu/exhibits/popup/ 



Pop-up Design - The 90° Pop-Up 
Second in a Series 

UlfStahmer 

Toronto, Ontario, Canada 

bovine.designs@sympatico.ca 

In the second article of Oris series I will discuss the 90° 
pop-up and how it can be applied to the classic 180° 
pop-up described in my first article. For those of you 
who missed the first article or have passed your last 
issue of Movable Stationary to your favourite aunt to 
read, you will be happy to know that I am 
simultaneously posting these articles on my web site at 
<http ://www3 . sympatico. ca/bovi ne. designs>. Please 
feel free to visit. I welcome all comments and 
suggestions. 

The 90° Pop-up: 

Like the classic 180° pop-up, the 90° pop-up is one of 
the most commonly found pop-up styles. It is called a 
90° pop-up because it stands at full attention when the 
page spread is opened to 90°. (See the illustration 
below.) Opening the spread any further causes the 
pop-up to fold down backwards until it is completely 
flat when the spread is fully opened. On its own, the 
90° pop-up is frequently found in greeting cards and in 
inexpensive pop-up books. But often, the 90° pop-up 
is used to enhance a classic 180° pop-up. I will 
describe how to do this later in this article. 




90° Pop-Up 

On its own, the 90° pop-up is most frequently found in 
diorama style pop-up books which open up and unfold 
into one grand scene. Lothar Meggendorfer designed 
and published numerous books of this type over 100 
years ago. Several of them were reprinted in the late 
1980's including Buffalo Bill's Wild West 1 . The 
American artist Red Grooms also created a very 
colourful and whimsical "sculto-pictorama" called 
Ruckus Rodeo 2 . This book's six page fold-out depicts 
the rowdy excitement of a rodeo complete with 
bucking broncos. On a similar theme, Frontier Town 
opens out and stands up to reveal four scenes of an old 
western town. This book cleverly uses its 90° pop-ups 



to allow the reader to view both the outside and inside 
of a few buildings. 

All of these books make excellent use of the 90° pop- 
up in a similar way. The last example I will mention is 
another Lothar Meggendorfer reprint called Theater- 
Bildcrbuch 4 (Theatre Picture Book). This book uses a 
simple variation of the 90° pop-up and creates four 
stage sets that draw the viewer inside. 

The 90° pop-up is much simpler than its 180° cousin, 
but no less effective. Again, armed with this article, I 
encourage you to take some time and study the 
masters. You will quickly understand how to create 
beautiful pop-ups of your own. 

Design Parameters: 

First, begin by selecting an image to pop-up. It could 
be a picture of your dog or even a photo of that old pair 
of sneakers that you just found under your bed. Your 
image can be any shape you like, but the bottom 
should be flat so that it can be glued to your 
background. This is also a very good time to 
incorporate a glue tab to your image. For more 
information on glue tabs, please refer to the 
appropriate section of my first article. 

Next, select a background for your image and fold it in 
half. Remember that one half the background will be 
vertical and tire other half will be flat as seen in the 
illustration above. Actually, location of the fold is not 
critical. In most diorama books, the flat portion of the 
background is only one third the length of the vertical 
portion. Your background image does not need to be 
rectangular either. You can make it almost any shape 
you like. Breaking out of the traditional frame can 
greatly enhance the appearance of your work. 

Decide where you would like to place your image on 
the flat portion of your background and mark this 
location on your background. Your image should be 
parallel to the center fold of your background. This is 
where I throw in some math — I am a mechanical 
engineer after all. If "h" is the height of the image, and 
"1" tire distance from image to the vertical background, 
then distance "1" plus "h" must be equal to or less than 
the height of the back of the pop-up for the image to 
remain inside the spread boundaries when folded up. 
See the illustration below. Failing to adhere to this 
rule can create an octopus when you close your pop- 
up. 



Background 



Stand-up 
Tab 



Image 




Glue Tab Lengths and Positioning 
Assembly: 

A separate glue tab I'll call the "stand-up" tab is 
required to make the image pop-up when the page is 
opened. Since this tab does all the work and so it 
should be sized appropriately. Stress on the glue joint 
is reduced by glueing the tab higher up on the image, 
but makes the tab more visible. It follows that a low 
tab should be wider while a liigher tab can be 
narrower. Sometimes glue tabs can be incorporated 
into the design of the image itself, and in other cases 
several of these glue tabs may be required. For 
example, tall thin images may require tabs near the 
bottom and top to prevent them from buckling. In 
general, the length of the tab minus the glue portions is 
equivalent to distance 010 as illustrated above. The 
width is not critical. If multiple tabs are required, all 
tabs should be the same length, but their widths can 
vary. 

Now you are ready to begin the sticky part: glueing. 
The following is my preferred glueing sequence: first, 
if you havenOt already incorporated a glue tab into the 
image base, make one by cutting a strip of paper about 
19 mm (3/40) wide and as long as the base of your 
image. Fold the strip in half and glue it to the back of 
your image. Second, glue the stand-up tab(s) in place 
on the back of the image. The tab should be glued to 
parallel to the image base tab. At this time I usually 
wait a few minutes for the glue to set, because nothing 
is more frustrating than glue joints coming apart at the 
wrong time. 



Stand-up Tab 




Next, glue your image onto the marks on your 
background, but do not glue the stand-up tab yet. Wait 
a few moments for the glue to set. Then put some glue 
on the stand-up tab and fold the tab down as shown 
above. Finally close your spread and apply pressure 
on the glue joint. This technique allows the tab to find 
its own home on the vertical background and results in 
clean, well functioning pop-ups with crisp folds. 

Variations: 

Now that you have mastered the basic 90° pop-up, I 
will discuss a few variations of this technique. The 
simplest variation is reversing the image and stand-up 
tab positions (i.e. the image becomes a table top and 
the stand-up tab(s) the legs). Turn the first illustration 
90° counter clockwise to see what I mean. Images can 
also be layered in front of one another as in the 
illustration below. 




Layered Images 

All the above mentioned rules apply to additional 
layers, except tliat the vertical background is replaced 
by the image directly behind the layer being added. 
The glue sequence for each layer is the same, but work 
from the rear layer to the front layer. This will save 
you some potential headaches. 

How does this apply to 180° cards? The answer is 
very simple: the 180° pop-up image becomes the 
vertical background for the 90° image. Again, all the 
same rules apply. Please remember tliat in this case 
the 90° pop-up should be parallel to the 180° one. 
There is, however, one special case. When glueing a 
90° pop-up to a 180° pop-up that has is vertical fold 
pointing away from you, the stand-up glue tab on the 
90° pop-up must be folded up as shown below instead 
of down. This is because the 180° pop-up folds away 
from you as the spread is closed instead of folding 
towards you as in the other cases. 



Glue Second 

Glueing Sequence 




90° and 180° Combination 

Since glue joints tend to be the weak links in pop-up 
design, it is advisable to try, where possible, reducing 
the number of glue points. Several techniques can be 
used to achieve tins. I will describe these in a future 
article, but for now I encourage you to take a good 
look behind the scenes of you pop-up collection. 

In the next issue's article I will continue to discuss the 
90° pop-up. In particular I will describe how to make 
90° pop-ups without glue tabs that are cut and folded 
from a single sheet of paper. As always, I encourage 
you to visit my web site and send me your comments 
and suggestions. 



1 Verlag J.F. Schreiber, 1891. Reprinted 
Oesterreichischer Bundesverlag, 1989. Engineer: 
Lothar Meggendorfer. 

2 Abrams, 1988. Engineer: Intervisual 
Communications. 

3 Holt Rinehart Winston, 1982. Engineer: Keith 
Moseley. 

Verlag J.F. Schreiber. Reprinted Oesterreichischer 
Bundesverlag, 1990. Engineer: Lothar Meggendorfer. 



Early Disney, continued from page 3 

especially in the French market. In 1935 they 
published a title that is known only from its French 
version: Mickey et le Prince Malalapatte. Illustrations 
d'apres Walt Disney. Texte de Magdeleine du 
Genestoux. Paris, Hachette, [1935]. Les Albums Hop- 
la. 63 p. The book, published originally with a 
dustwrapper, has four pop-ups; one of them, showing 
Mickey liberating Minnie from her prison in a castle- 
tower, was remade 



in the catalog 
Pop-up ou le Livre 
Magique of the 
exhibition of that 
name in Brussels 1993. 

In the three 

successive years 
the publishing 
house of Hachette 
did a Disney pop-up, 
or two, every year: 
Les Trois Pelits 
Cochons. Paris, 



LBS ALBUMS HOP" LA! 



PEHTS COCHONS 




Hachette, [1936]. Les Albums Hop-La! 22x1 6.5cm. A 
spin-off of Disney's first big movie success The 
Three Little Pigs, here in a book with three pop-up 
double spreads. As far as known only published - 
with a dust wrapper - in a French edition. Mickey 
Hop-La. Une Partie de Polo. Paris, Hachette, [1936]. 
22x16.5 cm. The book has three pop-ups. The story is 
about a polo game between the Disney characters on 
the one side and some famous movie stars of the time 
on the other, featuring the Marx brothers, Charlie 
Chaplin, Stan Laurel and Oliver Hardy, and Will 
Rodgers, all caricatured in a very funny way. Does 
any reader recognize a similar American Disney 
book? 

Plato et les Poassins. Par Walt Disney. Paris, 
Hachette, [1937]. Les Albums Hop-La. 22 p. A large 
book (about 32x24 cm), in which Pluto hatches a 
brood of baby chickens. Featuring one large pop-up 
in the center of the book. It was probably never 
published in English. 



..^* MOP- l. A- 



SUtfOiHIEtH 

: Nil mwm 




Witivm 



Blanche-Neige et ses 
Amies les Betes. Par 
Walt Disney. Paris, 
Hachette, [1938]. Les 
Albums Hop-La. 60 p., 
22x16.5 cm. The story 
of Snow White and her 
friends the animals was 
illustrated by the 
Disney Studios. There 
are three pop-ups in 
the book, the first one 
showing a jungle scene 

lifting from the pages as a shadowbox, strongly 
reminiscent of this kind of pop-ups in several 
Bookano volumes. This volume, again, was not 
published in English, as far we know. 

After the war Hachette did another three Disney 
titles in their series Les Albums Hop-La: a Bambi, a 
Three Little Pigs and a Peter Pan, with movable 
plates, a technique clearly copied from Julian Wehr, 
but for now we will restrict ourselves to the Disney 
books from the 1930s. 

For the German language market there was 
another Disney title published: Abenteuer des Micky 
Maus. Aus dem Engl isc hen ubertragen von Zirr. 
Zurich, Micky-Maus-Verlag Bollmann, [1936]. 
Micky-Maus-Wunderbucher.The title reads: "Mickey 
Mouse's Adventures" and although it is been said to 
be "freely translated from the English," we have 
never met an English language equivalent. The book 
has two pop-ups, one showing Minnie Mouse, the 
other a scarecrow that frightens two bandits. 



And in Spain there appeared also a Disney book 
hitherto not identified as existing in English: Mickey 
presenta: El Gallito del Lugar. Barcelona, Editorial 
El Molino, [1938]. The title reads: "Mickey presents: 
the little cock of the farm" but since we have never 
seen a copy of the book, we are wanting further 
bibliographical details. 

To complete the 1930s Disney novelties as 
published abroad, we still can mention two titles 
published in the U.K.: Snow White Magic Mirror 
Book, and the Story of Snow White and the Seven 
Dwarf's. By permission of Walt Disney - Mickey 
Mouse Ltd. London, Dean & Son Ltd. [ca. 1938]. 60 p. 
17x25 cm oblong. Five of the color plates in the book 
have to be viewed through 3-D spectacles to create a 
3-D illusion. And: Snow White and the Seven Dwarfs. 
Deans Cut-Out Book. By permission of Walt Disney - 
Mickey Mouse Ltd. London, Dean & Son Ltd. 
[ca.1938]. 24x34 oblong. A novelty item in which the 
verso of the covers acts as a double-page backdrop, 
together with four pages of characters and scenes to be 
cut out and made up. 

Again we have just knowledge of the British 
editions of these two Disney novelties but are curious 
if there have been American and/or foreign language 
editions. 

[The book covers used in this article were 
reproduced from Pietro Franchfs Apriti Libro! 
Meccanismi, figure, tridimensional itd in libri animati 
dal XVI al XX Secolo] 



Lois Morrison 

Books by the Artist: 1990-1999 

Adam and Sophie Gimbel Library 

Parsons School of Design 

2 West 13 Street 

New York City 

April 4 - August 4, 2000 

Lois Morrison has exhibited her work extensively for 

the past twenty years. Fabric and pop-up books 

incorporate a wide range of cutting, sewing, drawing. 

and printing techniques to explore such disparate 

themes as war and gardening. 



Conference Preparation 

New York City 

September 21-23, 2000 

Hotel 

The conference is being held at the Warwick Hotel 
in New York City. Located at 65 West 54 lh Street, it 
is centrally located and convenient. If you would like 
to share a room, contact Ann Montanaro before 
making a hotel reservation. 

Program 

Roy Dicks is making the program arrangements. 
Working from recommendations made by members, 
and has made initial plans to line up a wonderful 
program. Some speakers are confirmed and some are 
still pending, but there will be two full days of 
programs and activities. Several authors will be 
speaking about their experiences: Kees Moerbeek will 
talk about his two new books and Robert Sabuda will 
discuss the making of the exhibition catalog. Barbara 
Valenta, author of Pop-o-Mania will talk about 
putting that book together and Pam Pease, author of 
The Garden is Open, will discuss her experience in 
self-publishing. 

Addie Pefia will focus on musical related pop-ups 
and, since almost everyone asked for a program on 
repairs, Joanne Page will offer practical (hands-on) 
advice on when to repair, how to repair, and when 
not to repair. 

When the program arrangements are complete they 
will be posted on the Movable Book Society website: 
http://www.rci.rutgers.edu/~montanar/mbs.html 

Exhibition 

Brooklyn Pops Up is an exhibition of 100 pop-up 
and movable books from the 1500s to the present 
being prepared for the Brooklyn Public Library. The 
opening is Friday, September 22 and will continue at 
the Grand Army Plaza location through December 
31, 2000. Eight of the exhibit cases will travel to 
Brooklyn Library branches during 2001. Conference 
goers will have the opportunity to attend the 
exhibition open and will be transported to the library 
by bus on Friday evening. 

Catalog 

The exhibition catalog for Brooklyn Pops Up is 
itself a pop-up. Designed and prepared by Robert 
Sabuda, it includes pop-ups of Brooklyn sites, food, 
and landmarks created by David Carter, Carla Dijs, 
Bruce Foster, Biruta Akerbergs Hansen, Tor Lokvig, 
Kees Moerbeek, Chuck Murphy, Iain Smyth, and Ken 
Wilson-Max. Some of the paper engineers worked 
together on pages. Maurice Sendak illustrated the 
movable cover. The catalog will be distributed by 



Little Simon (September 2000, 8 pages, $19.95, 
0-689-84019-5). 

Meggendorfer Prize 

It is time to vote for the 2 nd Meggendorfer Prize for 
Best Movable Book, first won in Los Angeles by 
Robert Sabuda for The Christmas Alphabet. The 
criterion remains as it was in Los Angeles: what was 
your favorite movable book published widely since the 
last award, the latter part of 1997, 1998, and 1999? 
The Movable Book Society has provided a vetted list 
of books from which to choose. (The names listed with 
each book may be incomplete and are given for the 
purposes of identification only.) A simple majority 
will determine the winner of the prize. If you are 
passionate about a book not mentioned, a line for a 
write-in is provided. 

Please vote for five (5) books, ranked 1-5. The 

award, magnificently designed by Movable Book 
Society member Adie Pefia, will be engraved and 
ready for presentation. Please participate, even if you 
cannot attend the conference, and make your vote 
count! Return the enclosed postcard with your choice. 

The 12 Bugs of Christmas. 

David Carter. Little Simon, 1999 
ABC Disney 

Robert Sabuda. Disney Press, 1998 
Alphabet Zoo 

Jane McTeigue. Envision Publishing, 1997 
The Amazing Inventions of Professor Screwloose 

Iain Smyth. Envision Publishing, 1998 
The Amazing People Circus 

Ken Wilson-Max. David Bennett Books, 

1997 
The Amazing Pop-up Music Book 

Damian Johnston. Dutton Children's Books, 

1999 
Annie Ate Apples 

Vicki Teague-Cooper. DK Ink, 1998 
The Architecture Pack 

Ron van der Meer. Alfred A. Knopf, 1997 
The Art of Science 

Jay Young. Candlewick Press, 1999 
Bed Bugs 

David Carter. Little Simon, 1998 
The Bible Alphabet 

Keith Moseley. Broadman & Holman 

Publishers, 1998 
Bugs in Space 

David Carter. Little Simon, 1997 
Circus! 

Andrew Baron and Sally Blakemore 

Little Simon, 1998 
Chuck Murphy 's Black Cat White Cat 

Chuck Murphy. Little Simon, 1998 
Chuck Murphy 's Color Surprises 

Chuck Murphy. Little Simon, 1997 



The consummate cigar book 

Rives. Pop-up Press, 1997. 
Cookie Count 

Robert Sabuda. Little Simon, 1997 
David Carter 's Curious Critters 

David Carter. Little Simon, 1998 
Tlie Elements of Pop-up 

David Carter and James Diaz. Little Simon, 

1999 
The Formula One Pack 

Ron van der Meer. Van der Meer 

Publishing, 1999 
Harley-Davidson 

Rodger Smith. Pop-up Press, 1998 
Heroes of Space 

Rodger Smith. Piggy Toes Press, 1999 
The Hobbit 

Andrew Baron. HarperFestival, 1999 
/ Can too! 

Damian Johnston. Lothrop, Lee & Shepard, 

1997 
Jack and the beanstalk 

Chuck Murphy. Little Simon, 1998 
The Kid's Art Pack 

Ron van der Meer and Mark Hiner 

Dorling Kindersley, 1997 
Masks: The Metropolitan Museum of Art 

Heather Simmons and Oliver Charbonnel 

DK Publishing, 1997 
Mathsmaster 5+ 

Corina Fletcher. Konemann, 1999 
Monster Talk Pop-up 

David Hawcock. Electric Paper, 1 998 
The Movable Mother Goose 

Robert Sabuda. Little Simon, 1999 
The New York Pop-up Book 

David Hawcock. Universe Publications, 1999 
Nightmare Cafe 

Antje von Stemm. Envision Publishing, 

1998 
Nightmare Hotel 

Antje von Stemm. Envision Publishing, 

1997 
Our Lady of Guadalupe 

Eugenia Guzman. Groundwood, 1998 
Our World - An Unfolding Journey Around the Earth 

Frederic Moret. Barnes & Noble, 1998 
The Pop-up Book of Phobias 

Matthew Reinhart. Rob Weisbach Books, 

1999 
Santa 's Surprise 

Kees Moerbeek. Piggy Toes Press, 1 998 
Snappy Little Colors Discovers a Rainbow of Colors 

Richard Hawke. The Millbrook Press, 1998 
The Think Tank 

Ivan Moscovich. DK Ink, 1998 
The Ultimate 3-D Pop-up Art Book 

Ron van der Meer and Mark Hiner 

Dorling Kindersley, 1997 



Questions and Answers 

Q. What is the best way to "redirect" a fold that was 
not in the original design of the pop-up? 

Can books be stored in plastic zip-lock bags? If 
not, what is a good alternative. 

Frank Di Memmo 
Ooltewah, Tennessee 

Q. Does anyone know of titles in a series called 
"Picfade," published by the American Crayon Co., 
Sandusky, Ohio in the 1940s. The title I have is The 
Story ofPochahontas. The jacket blurb states there are 
other classical titles. 

Ellen Rubin 
Scarsdale, New York 

Q. I recently found a reference to four books in a 
series entitled Guess Who Pop-up Board Books. The 
titles are Farm Friends, Zoo Friends, Pet Friends, and 
Forest Friends published by Modern Publishing in 
1990. I am interested in knowing if they are actually 
pop-up books. Does anyone have them? 

Ann Montanaro 
East Brunswick, NJ 

Catalogs Received 

Aleph-Bet Books. Catalogue 63. 218 Waters Edge, 
Valley Cottage, NY 10989. Phone:914-268-7410. Fax: 
914-268-5942. Email: alephbet@ix.netcom.com. 
http://www.alephbet.com 

Books of the Ages. Catalogue 23. Gary J. Overmann. 
Maple Ridge Manor. 4764 Silverwood Dr., Batavia, 
Ohio45103. Phone: 513-732-3456. 

Cattermole 20 th Century Children's Books. Catalog 33. 
9880 Fairmount Road, Newbury, Ohio44065. 440-338- 
3253. Email: books@cattermole.com. 
Http://www.cattermole.com. 

Rose Lasley. "Pop-ups, Movables & Toy Books." 5827 
Burr Oak. Berkeley, 1L 60163-1424. Phone: 708-547- 
6239. 

Jo Ann Reisler, Ltd. Catalogue 51. 360 Glyndon St., 
NE, Vienna VA. Phone:703-938-2967. Fax: 703-938- 
9057. Email: Reisler@clark.net. 
Http://www.clarke.net/pub/reisler 



Henry Sotheran Limited. Catalogue 1046. 2 Sackville 
St. Piccadilly, London W1X 2DP. Phone: 0171 439 
6151. Fax: 0171 434 2019. 

Unicorn Books. Catalogue 93. 56 Rowlands Ave., 
Hatch End, Pinner, HA5 4BP, England. Phone:0181- 
420-1091. Fax: 0181-428-0125. 
http://wAvw.unicornbooks.co.uk. 

New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or 
advertising. All titles include pop-ups unless otherwise 
identified. 



The Cook Pack: 
Twenty no-fail three- 
course meals for two. 
By Gary Rhodes and 
Ron van der Meer. 
Abbeville Press. 
$29.99. 
1-902413-41-5. 



Dinosaur-pull-a-page. Mouse Works. $9.99. 
0-6364-1039-2. 

Jack Rides his Scooter. By Rebecca Elgar. Larousse 
Kingfisher Chambers. $10.95. 0-7534-5281-2. 






Make a Change Shapes. 
Millbrook Press. $8.95. 
0-7613-1044-4. 



Stairs. [Republished] By Rein 
Jansma. Joost Elfers Books. 
1-5567-0963-3. $24.99 



STAIRS 



Where are you? Pikachu. May. Golden Books. 0-3073- 
3237-3. $12.99. 

Who lives in the jungle? ( Wiggly Tabs) Readers Digest. 
1-5758-4353-6. $5.99